Board Figurative Paintings

Samir Sarkar - Untitled - 15 x 11 inches (unframed size) Acrylic on Stripped Board. Style : He says, “All my paintings have people wearing some headgear that has a face painted on...

Medium: Watercolor and Gouache on Paper laid on Board Signature: Signed and Dated on the Reverse

Medium: Gouache on Board Signature: Signed Lower Right American Magazine story interior illustration

Medium: Oil on Board Dimensions: 15.00" x 15.00" Signature: Signed Lower Left

Medium: Oil on Board Signature: Signed Lower Left Story illustration for "In The Cathedral" by Achmed Abdullah published in Cosmopolitan, May 1938, pages 24-25. The magazine descri...

Medium: Oil on Board Dimensions: 14.00" x 18.00" Signature: Signed Lower Left Biblical illustration

Signature: Signed Lower Left ‘Stevan Dohanos’ Medium: Mixed Media on Paperboard Laid Down on Masonite The present work was published as the cover illustration of the June 26th, 1954...

A gritty Burlesque Stripper with long purple gloves bumps and grinds with a hard-driving beat. American Social Realist artist Jack Levine paints this se...

Medium: Oil on Board Signature: Unsigned Edmund F. Ward estate stamp on verso

Medium: Gouache on Board Signature: Signed Lower Right Seats of the Haughty, Munsey's Magazine illustration, December 1906 Literature: This illustration appeared in O. Henry's shor...

Medium: Oil on Canvas Laid on Board Signature: Signed Lower Right Sight Size 14.50" x 13.00;" Framed 23.75" x 21.75" The Subdivision, Liberty Magazine Cover, June 18...

Medium: Oil on Canvas Laid on Board Signature: Signed Lower Left "Spring Is Here" The Country Home Magazine Cover, March (Year Unknown).

Medium: Oil on Canvasboard Signature: Unsigned Dimensions: Sight Size 18.00" x 24.00;" Framed 28.50" x 35.50" Cover for Fate Magazine - August 1953 The original cover painting by H.W. McCauley used for the August 1953 cover of Fate (True Stories of the Strange and Unknown), illustrating "The Gods of Voodoo" by North Hildabrand. In this offering a dancing pin...

Medium: Oil on Board Dimensions: 27.00" x 21.50" Signature: Signed Lower Right Date: 1930s Probable magazine cover, 1930-1935.

Date: 1948 Medium: Oil on Board Dimensions: 17.25" x 13.50" Signature: Signed Lower Left Magazine Story Illustration

Medium: Oil and Gold Paint on Board Signature: Signed Lower Right Sight Size 19.00" x 16.00" Oval, Framed 24.00" x 21.00" April. 1920 Good Houseke...

Medium: Oil on Board Signature: Signed Lower Right Sight Size 15.50" x 15.00", Framed 23.00" x 22.00" signed Jessie Willcox Smith (lower right); signed Jessie Willcox Smith and titl...

Medium: Gouache and Pencil on Board Signature: Signed Lower Left Carter's Monthly, February 1898, cover illustration. Newly Framed.

Medium: Oil and Pencil on Canvas Laid Down on Board Study for the December 23rd, 1939 issue The Saturday Evening Post.

Beer Belongs advertisement. The illustrations of Douglas Crockwell were often simply signed “Douglass” to avoid confusion with the signature of Norman Rockwell, particularly since their work was being published on the covers of The Saturday Evening Post during the same period. Necessary too, because Crockwell also worked very realistically, and like Rockwell, was particularly good with children. Their backgrounds, however, were entirely different. Crockwell was born in Chicago, Ohio, and took his degree in Science at Washington University, followed by study at the Academy of Fine Arts in Chicago and the St. Louis School of Fine Arts. He received his first commission for a cover for The Saturday Evening Post in 1933, and this was followed by many more, as well as work for other periodicals and a long list of national advertisers. During the ‘thirties, he also completed Post Office murals in Vermont, New York State and Mississippi, and began to work on experimental animated films. The films, and inventing a “pan-stereo” viewing...

Harry Jelinek (1905-1986) “Lady Posing in a Red Dress” Signed and dated 1965 Acrylic on board

"Nile by Night VI" Painting 15" x 24" inch by Mohamed Abla Mohamed Abla was born in Mansoura (North of Egypt) in 1953. There he spent his childhood and finished school. In 1973 he ...

Whimsical textured relief painting of two stylized twin jesters in primary colors, their long mask-like faces created with the technique of hand carving layers of laminated paper board and painting with acrylic, by contemporary English artist Martin Ingley...

Familiar II by Henry Wlash [2021] Familiar II by Henry Walsh is an original acrylic painting on a wooden board that features a man and dog at leisure on a wintry walk. Henry Walsh’s...

Jay Patel ELEPHANT & THE KING Acrylic on Board Year: 2022 Size: 10x12x1.5in Signed verso COA provided Ready to hang Ref.: 924802-1113 "Against a burnt orang...

Quaint early 20th century landscape of an old man traveling down a dirt road in a covered wagon led by two donkeys and a dog, through rolling hills and wildflowers, by S. Bassett Wei...

"Avon River", a beautiful mid century figurative landscape of Christ Church, New Zealand by Leon Worley (American, 1909-2003). Presented in a wooden frame. Signed "Leon Worley" lower...

Signed and dated lower right; signed, titled and inscribed Milano. Observed in frame, the painting is in good condition. A minor loss to the left center edge. Inspection under UV lig...

Signed lower left 'Nura' for Nura Woodson Ulreich (American, 1899–1950). Additionally signed, verso, dated March 1928 with artist's New York City ...

A. J. Bennett (South African, fl. Early 20th century) Light and Shade • Oil on canvas artist board ca. 42.5 x 29.5 cm • Later frame ca. 53.5 x 41 cm Worldwide shipping is complime...

Signed figurative oil on board circa 1890 by French Nabis school painter Edouard Vuillard. The work depicts two seated ladies dressed in black with grey pinafores enjoying coffee together. Illustrated in the Catalogue Raisonne of Edouard Vuillard by Antoine Salomon and Guy Cogeval - Volume I, Page 229 - Reference IV-7 This striking work dates to between 1890 and 1891 which was without doubt Vuillard’s greatest decade as an artist. At this time the painter was working with the group of artist known as "Les Nabis" which included Pierre Bonnard, Maurice Denis, Paul Ranson, Ker-Xavier Roussel, Félix Vallotton, Paul Sérusier and Auguste Cazalis. The group played a large part in the transition from impressionism and academic art to abstract art, symbolism and the other early movements of modernism. They believed that a work of art was not a depiction of nature, but a synthesis of metaphors and symbols created by the artist. Signature: Signed lower right Dimensions: Framed: 19.25"x20.25" Unframed: 9.25"x10.25" Provenance: Renou et Poyet - Paris Roland, Browse & Delbanco - London (labels verso) c. 1955 The collection of Sir Alec Guinness Galerie Jan Krugier, Geneva - 1972 Nichido Gallery - Tokyo 1972 Private collection - Japan Christie's London - Impressionist & Modern Art - June 2016 Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...

Gabriel Casarrubios Martín (1953) - Fishermen on the beach - Oil on panel Oil size 19x33 cm. Frameless. Gabriel Casarrubios Martín (1953) The Toledo artist trained in Fine Arts in ...

Signed post impressionist landscape oil on board circa 1914 by French painter Paul Elie Gernez. The work depicts figures walking in the shade of trees...

Signed and dated figures in interior oil on canvas by French post impressionist painter Pierre De Belay. The work depicts a gentleman in a black morning suit ...

Original cover illustration for The Saturday Evening Post, August 11, 1951. The Post described, “Make the acquaintance of Kit Dunham, a Westport, Connecticut, lepidopterist. This is...

A very dramatically painted view of a woodland scene in the autumn with such vibrant colour and brushwork, typical of this very collectible artist. Garstin Cox (1892-1933) Woodland ...

Hanni Bay (Swiss, 1885 - 1978) Arvenwald im Graubünden - Pine Forests in the Swiss Grisons • Oil on artist board, ca. 26.5 x 35 cm • Frame, ca. 41 x 49 cm • Verso illegibly titled • Signed lower right Worldwide shipping is complimentary - There are no additional charges for handling & delivery. Johanna / Hanni Bay was a Swiss feminist artiste; a strong woman, single mother to three children, who compromised rarely when it came to her art. She studied in Paris, as well as under the famous Cuno...

Sterling Strauser "Nude" 1962 Oil on board Framed 13.25 x 7.25 x 1 in Signed and dated in pencil lower right Sterling Strauser was born in Bloomsburg, PA on August 15, 1907. He rece...

Wonderfully vivid mid century abstract expressionist painting by San Francisco artist Jerry W Ward (American, b. 1968), circa 2000. Titled "Erotic Clown Diva" and signed verso. Condi...

A beautiful Modern British oil on board by Ruth Farrelly which depicts a lady putting her washing out on a line in her garden. Superb quality and striking painting, presented in the ...

Frank Hill is a professional artist living and working in North Norfolk. He studied art at Waltham Forest School of Art and later at St Martins School of Art. Frank’s professional c...

Artist: Alexander Litvinov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Cardboard Style: Classic Figurative Year: 2010 Title: Odyssey Size: 24" x 30" ...

Medium: Oil on Board Dimensions: 10.75" x 12.75" Warner Books

An antique American folk art painting in its original period frame. Featuring a man walking his dogs in the woods with a stunning s...

Contemporary floral still life figurative gouache on cardboard painting by Polish artist Bozena Lesiak. Colors are vibrant with red and green colors. BOŻENA LESIAK (born in 1952) St...

Genre: Modern Subject: Hasidic Rabbi preaching in Synagogue Medium: Oil Surface: Board, size includes artist decorated frame Country: United States The imagery of Maurice Kish (189...

Portrait is an original artwork realized by Virgilio Guidi in the half of 20th century. Tempera on board Good conditions. Includes frame. Hand-signed on the lower right. Virgili...

Harrods View painted Plein Air All Prima. Discover new works by Tushar Sabale available to buy online and in our art gallery at Wychwood Art. Tushar Saba...

Moshe Chauski (b. 1935) Born in Lithuania, Chauski studied at the Vilna Art Academy. Post-graduate studies, Warsaw He received the first prize for young artists in 1953. He immi...

"Patterns and Stripes" is a painting by Philadelphia born Expressionist painter Bernard Harmon. The 40" x 34" oil on board portrait of two figures is painted in a muted color palette. The painting is framed in a new, gold frame and signed "Harmon" on verso. Figurative expressionism in the style of Alice Neel. Bernard Harmon was born in Philadelphia, Pennsylvania in 1935. Harmon was primarily a portrait painter and a well loved teacher in the Philadelphia area. A graduate of the Philadelphia Museum School and Temples Tyler School of Art, Harmon traveled extensively in Europe and South America. Beloved by many, Harmon taught in the Philadelphia School District for 32 of his 54 years of life. Beginning his career as an art teacher at West Philadelphia High School, in the early 1960s he became one of the district's artists in residence, traveling from school to school to demonstrate for students how an artist works. Returning to the classroom, Harmon joined the art department at Central High School where he taught for 14 years and became an innovator in art curriculum, developing a program offering advanced placement art classes to gifted students. In his final years Harmon became a supervisor, mentoring teachers and overseeing programs in the Philadelphia school systems District #1. During his short life Harmon taught collage preparatory art classes at the Pennsylvania Academy of the Fine Arts, summer classes at the University of the Arts, and a Saturday program for gifted children at Drexel University. Among Harmon's portraits were commissioned by Philadelphia Jazz organist Jimmy Smith and Mayor Richardson Dilworth. Bernard Harmon was active in promoting African American Artist throughout his life time. He organized many early shows such as the "Afro American Artists...

Paritosh Sen - Untitled 22 x 15 inches (unframed size), 1995 Mixed Media Paper Pasted on Board ( Unframed & Delivered ) A stunning work in colors on "red ,Blue Gold in Acrylic on Bo...

Signed impressionist figurative pastel on board circa 1895 by sought after French impressionist painter Jean Louis Forain. The piece depicts a man asleep in a bed while a woman stands at the foot of the bed getting dressed. The room is dimly lit by the bedside lamp. Signature: Signed upper right Dimensions: Framed: 22"x26" Unframed: 15"x19" Provenance: Galerie Jean-Claude Bellier Jean Forain was the son of a painter and decorator and was apprenticed to a visiting card engraver. He studied briefly under Gérôme and Carpeaux at the École des Beaux-Arts in Paris and regularly visited the Louvre, where he copied works by the masters. It is said that for a time he made a precarious living by selling small drawings in the style of Grévin. He went on to collaborate on various publications as a draughtsman and columnist, starting in 1876 on La Cravache and then collaborating on the newspapers Le Journal Amusant, Le Figaro and L'Écho de Paris. This introduced him to the diverse worlds of Paris society - the world of the theatre, of shows, and of literature - where he wryly noted the habits and shortcomings particular to each. This led him to follow a route very characteristic of this period, already seen in the work of Steinlen, Caran d'Ache and Toulouse-Lautrec in the journals La Pléiade, La Vogue and La Revue Blanche. His work draws a picture of the society of the period, not in a strictly imitative fashion but in the form of the 'dessin-charge' or mild caricature. In 1880 he illustrated Parisian Sketches...

Oil on board, 62cm x 42cm, (70cm x 50cm framed). The picture is in good condition. Plummer trained at the Royal Academy Schools in the early 1950s, championed by Stanley Spencer and Sir Herbert Read, he was the recipient of the coveted Leverhulme Scholarship. In a mixed career which included illustration work for The National Trust, anatomical illustration for Guys Hospital and teaching, painting ran parallel to his commercial work. Plummer specialised in the medium of egg tempera, as well as oil painting, a technique little used since the frescos of the Renaissance, he often worked on a large scale, but in tremendous detail, combining Classical iconography and formal composition with visual exploration evocative of William Blake and...

Outstanding Oil on board a snow-covered Canadian landscape of the Haliburton Highlands near Ontario. Andrew B Phin is a painter, who is listed as a 20th-century Canadian painter of ...

Portrait is an original oil painting on cardboard, realized by an anonymous artists of the early 20th Century. Sheet size: 13 x 7.5 Good conditions with a trace of time. the artw...

Telopa, the father and son of artists, paints women in an elegant Mannerist style that combines classic beauty and mythological, symbolic allegory. A...

Oil on board, signed (lower left), 40cm x 56cm, (51cm x 67cm framed). The picture is good condition and the work comes directly from the artist. Painter, draughtsman and teacher, b...

"I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The "Swimmer series" has followed me over the years, resurfacing and evolving. Pr...